Film-makers start thinking 'glocal'

There are signs that regionally-inflected versions of the same stories offer a way ahead for world cinema

"Global plus local = glocal." That's how the heat-seeking missile in a business suit that is Anna Kendrick in Jason Reitman's Up in the Air (2009) justifies her cost-cutting brainwave: firing workers around the world remotely via video conference. It's probably the only time "glocalisation" will ever get namechecked in a feature-film script. But the ploy of tailoring global business to individual countries could be picking up speed in the cinema industry, according to a recent Hollywood Reporter article on a new wave of remakes: rather than cutting a one-size-fits-all global hit from foreign material, Hollywood producers are increasingly seeing steady revenue from licensing foreign reworkings of Us films, like last year's Chinese version of Mel Gibson vehicle What Women Want.

Those are individual cases, though. There are signs that the glocally-minded film producer can think bigger,
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